We write characters that have personality quirks and all the things that make them unique. If not, they come across as stock types, stereotypical constructs that may mouth the words of exposition or make clearly obvious statements.
So how do we get beyond slow beginnings like “hello” and “how are you?” or trite comments such as “nice day” or “have you heard.” I believe all good characterization starts with the setup. If you put your characters, whether in a book or screenplay, into a dramatic situation, they respond to the tension or conflict. It’s not that the plot drives the character, but the plot does give something for the character to react to at any given moment.
I’ve written screenplays and books. I can tell you that fiction dialogue is more challenging than script dialogue. The potential weakness with screenplays is that the dialogue can be “on the nose” or predictable and the characters emerge like cardboard cutouts. The major advantage of movie and television scripts is that they are visual mediums. The same with stage plays although there’s more investment in the audience’s imagination. Actually, entire scenes in a film can convey plot and story before a word is uttered via the characters’ actions, manner of dress, setting, and other aspects of the mis en scene. The dialogue is like the icing on the cake and it better be really scrumptious icing!! And the thought of adding exposition via dialogue to a movie script is like fingernails on a chalkboard. (Yes, sorry about that one!)
So, how do you know your dialogue is the best it can be? We all know writing is rewriting. But before you start the revision mode, get to know your characters on a deeper level! There are many writing exercises that suggest developing every little nuance of your character’s upbringing, personal challenges, and relationships. For a screenplay, I wrote the main character’s family history because her ancestral background was essential to plot elements. Otherwise, I tend to go into a story and learn more about a character as I write. And I’ve had instances where a secondary character pops out of nowhere while writing the first draft! Then I’m obliged to weave these characters into the storyline and give them a reason for being. But the main characters? As writers/creators, we know them better than they know themselves! And, yes they do surprise us every now and then.
For instance Peggy, a malcontent fourteen year old, came to life in “Unearthing Christmas” my first novel in a series called “The Miriam Chronicles.” She and her two co-conspirators hid stolen merchandise until they sold it off a few days later. From the get go, Peggy had a wit and dry sense of humor! I knew her so well, especially her reaction to every situation! But I also knew what was at her core, the vulnerability and fears she concealed from others. Somehow, it all worked on the page! The book’s dialogue was commented on in an Amazon review which read, in part, “…The characters are well drawn and the dialogue is entertaining—especially the LOL banter among siblings. This book will make you laugh and make you ponder the depths of the human heart. Highly recommended.” Albeit, some characters are effortless in giving life and dimension.
Dialogue is easy and difficult. It’s easy to write, especially when in the middle of a conversation. But there’s a key question: does it advance the character development or the plot without the dreaded exposition? I’ve read bestsellers with dialogue that was stilted and smacked of exposition. Yes, hard to believe! So I’ll go to one of my favorite books for an example of what effective dialogue does for a story!
My first read of Jane Austen’s “Pride and Prejudice” was during a summer semester in college. I don’t recall the course’s title, but I reveled with the reading assignments and the early morning strolls through a near-empty campus. And the warm weather made every day feel like a vacation! In Austen’s novel, I was hooked on the Bennet family from the first few pages. Mrs. Bennet natters about their neighbors to a most disinterested Mr. Bennet. We learn so much about their family dynamics and how husband and wife relate to each other and the world!
Mrs. Bennet prattles on with a tidbit of gossip. Mr. Bennet doesn’t take the bait and we, as readers, are primed for the verbal dance they do in their marriage. She inquires if he knows the latest about Netherfield Park, a nearby estate. Mr. Bennet replies he has not. And then she cries impatiently, “Do you not want to know who has taken it?” His reply? “You want to tell me, and I have no objection to hearing it.” Jane Austen, the omniscient author chimes in: That was invitation enough. Oh, my and what an invitation! Here we have exposition blabbed by a character who makes it her business to know everyone else’s business! With the conversational buildup we, the readers, expect her to spare no detail, and the clever Jane Austen created a busybody character that catches up Mr. Bennet and the reader on pertinent information! But it’s cleverly disguised exposition. It’s just Mrs. Bennet being Mrs. Bennet!
One other aspect of dialogue I learned from my former publisher is the use of action beats. I used to combine them with dialogue tags instead of letting them stand on their own. But to make an action beat pronounced, my publisher/editor said to ditch the tag. For instance in “Unearthing Christmas” Peggy confronts Lori that appears to her out of thin air like a magician or someone’s idea of a cruel joke.
“So who put you up to this?” She gave her best glare, hoping it would work like a truth serum.
If an action beat gives added depth to the preceding dialogue, then use it! But, if the dialogue works, the “he said” or “she said” tag is enough!
The key to dialogue is knowing your characters and how they act and/or react to a situation. Let’s face it. They count on you to bring them to life and they have a full life to live in between the story’s pages. Happy writing!